Cho's reading of the Piano Concerto no. 1 is, on the whole, bright-toned and clean-textured. He's got a real feeling for the music, its lyricism, its many fluctuations of tempo, and its dreamy poeticism. His playing of the Concerto's many octave runs is precise . . . On the whole, his is a vibrant, impassioned reading of the Concerto, with a sweeping performance of its big first movement; a gorgeous, dreamy second; and a robust, rhythmically astute account of the finale. Gianandrea Noseda [here conducts the London Symphony in a warm, nuanced accompaniment] . . . [4 Ballades]: there's much to like about Cho's playing in the set. They brim with color. Textures are, by and large, lucid . . . Expressively, the most successful are the last two, which brim with poignancy -- especially the long, lyrical stretches of the F minor (no. 4).

The tenderest passages in the concerto have a touching reticence, and there are times in the Ballades when he almost seems to be enjoying hanging back and confounding our expectations of exactly where this music's passionate eruptions happen . . . this is definitely a disc that confirms a major talent.

Record Review /
Erica Jeal,
The Guardian (London) / 22. December 2016

In Chopin's glittering and lyrical Piano Concerto no. 1, the E Minor, he blends poetry with a stream of limpid, sparkling fingerwork that is never overblown or showy . . . supported by a keenly played accompaniment from the London Symphony Orchestra . . . [Cho's playing of the Ballades is] fit for the intimacy of the salon. At times, the music seems to linger on the border of a dream world.

It is Noseda who sets the tone of the performance with an introduction that is full of purpose and not a little swagger . . .[it is not so much Cho's] effortless clarity and articulation or lightly pedalled fioritura that capture the attention as much as his ability to let the music breathe. Every time the first movement's ineffably lovely second subject returns, it becomes more poignant in Cho's hands. His phrasing here and in the "Romanza" is truly heart-melting and if the last movement is marginally less special than its predecessors, that hardly counts against this memorable interpretation . . . [the four Ballades, too,] have an authority and assurance that compels attention . . . listen to the magical opening of No 2, the deft highlighting of the contrapuntal lines in No 3 (a masterly reading) and the controlled impetuosity of No 4 and you are left in no doubt . . .

. . . a most impressive calling-card. His playing is expressive, vividly coloured and thoughtful throughout, one has the sense of genuine curiosity for and delight in this music. Noseda accompanies superbly, securing fine playing and, where necessary, gossamer-fine textures. A class act, and an encouraging start to what should be a long and distinguished recording career.

In the four magnificent Ballades Cho's playing has all the poetic imagination, freshness of new discovery and tender warmth you could wish for, allied to a bomb-proof technique that totally eschews any suggestion of flashy display -- the genius of Chopin's inspiration always comes first . . . Cho's performance of the E minor Concerto is just as impressive in its beaming affection, unhurried sense of purpose, tumbling fantasy and deftness of touch; time really does seem to stand still in the heavenly Larghetto centrepiece, while the rondo finale radiates an elegance, glitter and bonhomie that are most endearing. Gianandrea Noseda and the LSO lend marvellously sympathetic support here, and the recording is vividly realistic to match. Further discs from this outstanding young pianist are eagerly anticipated.

Record Review /
Andrew Achenbach,
Classical Ear / 01. February 2017

. . . gorgeous, ripe accompaniment by Gianandrea Noseda and the London Symphony Orchestra . . . an artist of rare and understated eloquence. Without in any way slighting the technical bravura of Chopin's writing, Cho casts these pieces from a sly, sideways angle, always seeming to insinuate more than he states explicitly. Listen to the halting, quasi-improvisatory pacing of the concerto's slow movement, or the crystalline tenderness with which Cho begins the second Ballade -- there's more going on here than initially meets the ear. It's the kind of playing you want to lean into, just to make sure you're not missing some ravishing subtlety.

[Chopin 1]: Cho's treatment of the principal melodic ideas in the opening movement is fluid and lyrical. Even his ornaments come across more as small eddies in a current than clusters of notes on a page. The second movement Romance is exquisite. Cho manages to retain a fragility about his playing, even through the slightly more assertive middle section. His technical display in the final movement is flawlessly clear. The Ballades too, reveal Cho's fascination with the singing qualities of Chopin's ideas. Much of the Ballade No. 1 in G Minor Op.23 is remarkably understated, making for a starker contrast with the outburst of the middle section as well as the closing measures. The Ballade No. 2 follows in a similar vein. The effectiveness of Cho's playing lies as much in his virtuosity as in his ability to fall into Chopin's moments of repose with a delicacy that transcends the pianissimo markings.

. . . [Cho impresses in the First Piano Concerto with] his limpid technique and elegance of phrasing . . . Cho does his utmost to make his style convincing, as witness to remarkable delicacy with which he states the melody that opens the second movement . . . [Noseda takes pains to make Chopin's] orchestration more than a throwaway, with phrasing that's as elegantly shaped as the soloist's. As pure sound, the LSO recorded at London's Abbey Road Studios could hardly be more beautiful. If this kind of ultra-refinement appeals to you, Cho's reading fits the bill . . . a true collaboration . . . [in Ballade no. 1 Cho gives] a performance that intends to draw us in so intimately that poetry succeeds on its own . . . One asset is Cho's rich, solid tone. When he finally arrives at a great climax, the sound he produces swells impressively. DG's recorded sound is just as impressive, being as full and lifelike as any I've ever encountered . . . a pianist of taste and elegance, gifted with interpretative maturity beyond his years.

Record Review /
Huntley Dent,
Fanfare (Tenafly, NJ) / 01. March 2017

[Chopin / Concerto no. 1]: Cho has made a fluid singing line his own artistic priority, much in the arioso tradition inherited from Mozart by way of Hummel. Not only do the softer passages -- in E Major-- of the rather declamatory first movement prove gracious, but Cho's phrasing of the melodic tissue of the Romance: Larghetto movement echoes with Old-World tracery. Noseda has a supreme orchestral ensemble in the London Symphony, and their contribution in the strings and woodwinds provides a transparent, suave haze for the keyboard's "operatic" musings, rife with what the Poles call "tesknota", or yearning, pained, nostalgia. The progression of linked, arched phrases enjoys a natural, flexible line, revealing no cloying, no artificial profundity . . . The pervasive, easy lyricism of this performance will garner many admirers; and I warrant that this interpretation will stand tall . . . the improvisatory power of the [g minor Ballade] flashes by in sparkling colors from Cho, his left hand's clearly enunciating the chromatic, pungent bass line and its emotional depths. The coda, the eternal bane for aspiring virtuosos, comes off as a crisp, dramatic resolution that carries us musically, not theatrically . . . [in the F Major Ballade,] Cho captures the intimate dialogue, true, but no less the contrary motion of both hands and heart as the a minor mode completely absorbs the manic coda. The A-flat Major Ballade generates much sunshine . . . and Cho graduates its tenor to assume monumental dimensions. His flamboyant, sonorously ample, free-wheeling realization . . . ended in a happy, opulent sensibility . . . [and the fourth and final Ballade proceeds] with a lithe, driven fluency . . . Cho has engaged us consistently, poetically and pianistically -- the virtues of a Chopin pianist who has earned his place in this special pantheon.

Record Review /
Gary Lemco,
Audiophile Audition / 15. April 2017

. . . [Cho's] playing is unfailingly cultivated and his sound beautifully focused and poised . . . [Chopin 1]: right from the fortissimo octaves of the piano's entry, Cho commands the work, and he leads the dance in the finale.

Record Review /
John Allison,
BBC Music Magazine (London) / 01. May 2017

. . . superb performances . . . Here is his first-ever studio recording, and he shines . . . [conductor Noseda] shapes the orchestral contributions superbly . . . [Cho gives his concerto] interpretation a perfectly lyrical slant; yet it is the attention to detail that impresses most. Nothing is taken for granted, while in the central Romanze, Cho spins his line as if from silk. The music has a lovely sense of space and the pianist finds a delicious touch that transforms the skitterings of the finale into magic . . . The tender moments of Ballade No. 1 are lulling without turning to the somnolent; the more fiery passages still hold perfect clarity . . . [the parts of No. 2 are] perfectly in balance, voice-leading a particular joy . . . [No. 3] blossoms splendidly . . . [No 4 finds Cho in consistent form,] the inner-voice trills superbly done within a wonderful, overarching sense of flow . . . Cho has his own voice, perfectly attuned to Chopin.